"Don Pasquale" is a hoot of a spaghetti Western opera |
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By KYLE MACMILLAN Opera Colorado gives new meaning to the term, "spaghetti Western," with a hilarious, thoroughly entertaining production of "Don Pasquale" that moves the action to the Old West. An Italian opera with Monument Valley as a backdrop might sound a bit absurd, but director David Gately effects this change of setting with such aplomb that it not only fits comfortably within the 1843 opera's context but also adds a whole other comic dimension. It is easy to believe that composer Gaetano Donizetti, a consummate veteran of the theater, would have approved of this take on his light-hearted tale of true love triumphing with the help of a clever if farcical ruse. Gately conceived his Old West approach to "Don Pasquale" in 1992 for the Chautauqua (N.Y.) Opera, and it has gone on to become something of a contemporary classic, at least among regional companies. Opera Colorado's production is the 14th staging in Canada and the United States, and, not surprisingly, Gately has it down cold by now. Friday evening's opening performance at the Ellie Caulkins Opera House hit on all cylinders, with flawless timing and every comic gesture in place. One of the cleverest and funniest moments comes at the beginning of the second act. Ernesto, who has been ejected from his uncle's house, sings a long aria of dejection while taking a bubble bath with his cowboy boots and hat still on and three, ahem, saloon girls attending to his whims. (Don't worry, it's all very G rated.) Significantly enhancing the production are picture-perfect costumes by Helen E. Rodgers and the elaborate, naturalistic sets by Tony Fanning, who is best known for his work as the art director for such movies as "Spider-Man," "Munich" and "Ocean's Thirteen." Fanning created the scenery for the original Chautauqua Opera production and slightly upped its scale in 2003 for San Diego Opera's larger stage. Opera Colorado is taking advantage of that latter version. During rehearsals, Gately called this cast one of the production's best ever, and it was clear Friday evening that such words were anything but idle boosterism. For the four principal roles, Opera Colorado has assembled a well-matched group of mostly veterans, who are all first-rate singers, and, just as important in this production, terrific comic actors. They fit their characters — physically and vocally — to a tee. Glavin shows himself to be both a polished comedian, with a rich repertoire of double takes and gestures worthy of Jackie Gleason, and fine singer, with a robust, commendably pliant voice. Up-and-comer Norman Reinhardt offers a winning performance as Ernesto. His expressive tenor voice, with a distinctive timbre on the lighter side, pairs well with the bright soprano voice and technically adept singing of soprano Isabel Bayrakdarian. Rounding out the foursome with his appealingly resonant and agile voice, baritone Christopher Feigum could hardly have been more at ease or convincing as Dr. Malatesa. Because of a scheduling conflict, the Colorado Symphony was not able to serve as the production's pit orchestra as usual. Instead, the symphony contracted a group of freelance musicians. While probably a notch below the CSO ensemble, it was still a good orchestra, especially in the capable hands of conductor Stephen Lord, who got the pacing and feel of Donizetti's delightful music just right. |
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'Don Pasquale' blazes trail through Monument Valley |
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By MARC SHULGOLD Opera Colorado audiences are prepared for just about anything when the curtain goes up. Traditional settings have been supplanted by trains, Midwestern towns, Mafia hideouts... you name it. Old-schoolers may object, but there are times when such tampering works. Don Pasquale, seen Sunday, is one example. Director David Gately has taken Donizetti's tuneful romp and moved it from Rome to Monument Valley, judging by the painted backdrop. There are cowboys, six-shooters, spurs that jingle and a goofy, lifesize horse that operates on four-wheel drive. The shift is mostly successful, since the plot and characters are not meant to be taken seriously anyway. All we ask of any Pasquale is that the comic antics are funny and the voices are good. Considering that Gately chooses to pour on the shtick (there's a drunk cowpoke, a bordello scene with sudsy bathtub, a pistol shot, a whip snap, a stuffed squirrel, mariachis in sombreros), it's disappointing that the chuckles are few and far between. The opening scene lacks energy, and there are only hints of chemistry among the principals. Even the daffy patter duet of Pasquale and Malatesta fails to stir (despite being encored). There are some fun moments: The lovesick Ernesto leaves hat and boots on as he submerges in his soapy tub, our hero's lovely Serenade suddenly and deliciously sounds South-of-the-Border when backed by those mariachis. To end this spaghetti Western-inspired production, everyone digs into a pasta feast. Charming. Emmy-winning designer Tony Fanning created detailed sets - though the lowering of a pistol-decorated wall mid-scene is jarring, and we would have preferred a major makeover once Pasquale's bride reveals her materialistic bent. Harry Frehner's lighting is suitably bright and cheery (though the shadowy window-frame lines are distracting). In the title role, Kevin Glavin brings a light-comic touch, while projecting a solid baritone, loosening up as the hijinx ensue. Isabel Bayrakdarian is stunning as Norina, displaying a pure, effortless coloratura soprano, as well as a fine comedic touch. Her Ernesto, Norman Reinhardt, possesses a warm tenor and likable persona, making sweet music with his gal during a lovely Act Three duet. Christopher Feigum's Malatesta was also a delight, as he engineered his sit-com shenanigans while singing with focus and power to spare. With the Colorado Symphony playing in Boettcher rather than at the Ellie, Stephen Lord conducted a capable freelance band with authority and brisk pacing. |
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Boulder Daily Camera |
"Glory of the cast, of course, is the Norina of Canadian-Armenian Isabel Bayrakdarian, who makes easy kid stuff of the coloratura demands of the role. And bug’s-ear cute Bayrakdarian enters into the high-jinks spirit of the staging with obvious elan." |
